Miss June – Bad Luck Party

Miss June demand attention”

These words leap out at the end of the band’s biography and the fact that the likes of The Foo Fighters, Shellac, Wolf Alice, Idles and Die! Die! Die! have all grabbed New Zealand hailing Miss June as support on stage is strong evidence. Even stronger confirmation of their declaration comes with debut album, Bad Luck Party, a collection of songs impossible to ignore which make no apology in their virulent contagion and rousing insistence.

Released on the eve of their world-wide Bad Luck Party Tour, the album is a persistently boisterous and often belligerent stomp of punk rock bred, pop fuelled rock ‘n’ roll honed into eleven tracks which effortlessly captivated. To be honest the band’s sound is far richer and animated than that description suggests, each song additionally holding mischief, defiance, and energy in their hearts.

Twitch kicks the album off, a controlled squall of guitar its introduction before a swift addition of swinging beats adds to the immediate fuzz soaked temptation, the song quickly hitting its infectious stride. As the guitars of Annabel Liddell and Jun Cheul Park unite in their scuzz coated virulence, the former’s magnetic tones dance in ears, a smile accompanying every syllable shared. There is something akin to Blood Red Shoes meets Sonic Youth to the temptation exuding from the speakers though already there is no mistaking it is a proposition individual to its creators.

An attention grabbing start it is only eclipsed by the following Best Girl. From its first breath the song nags ears, its stroll more of a march on the imagination as hooks and rhythms toy with the listener. A great confrontational edge lines Liddell’s delivery, the same tone infesting the devilry of guitars and the irresistible persistent nagging of Tom Leggett’s beats courted by the similarly compelling and brooding bassline cast by Chris Marshall.

Then from one major highlight of the album to another with Two Hits which instantly dived under the skin as the rapid fire vocal exuberance of Liddell rides the boisterous roll of Leggett’s rhythms. It is the trigger to an irresistible surge of garage infested pop punk, every element an insatiable incitement finding no defence to its irreverent virulence before Anomaly calms things down with its melodic swing and seductive charm. It is a mellow breeze of sound yet carrying volatility in its breath which erupts in squalls of sonic flame and rhythmic rapacity.

Similarly Orchid shares tranquillity prone to incendiary eruptions, vocals and melodies respectful caresses on senses subsequently scorched by the track while Double Negative from its Young Marble Giants-esque post punk elegance erupts in a fire of rapacious shadows and dark moods. Though unique in their character and bodies, there is a matching beauty to both which beguiles and in the second haunts for a fascinating crepuscular seduction.

Each track within Bad Luck Party brings an individual experience amidst a web of intrigue, the predacious Enemies with its compulsive noise punk voracity and the sonically discord soaked Aquarium further rousing evidence. The latter is as psychotic as it is hungrily catchy, the guitars and vocals alone gluttonous temptation while its successor, Scorpio, with its pop loaded canter and hook ridden antics had swift subservience in its hands like a devious temptress.

The final pair of the punk rock spawned, truculence fuelled Please Waste My Time and Polio with its initial leaden crawl leading to an irritable post punk tempest simply brought further magnetic faces to the kaleidoscopic personality of Bad Luck Party. The first was an immediate infestation of ears and appetite the second a longer persuasion but both wholly compelling and thrilling proposals just as the album itself; another of the year’s true highlights.

Bad Luck Party is out now via Frenchkiss Records.

Bad Luck Party Tour Dates:

September 18th – Maze – Berlin

September 19th – Blue Shel – Cologne

September 20th – Reeperbahn Festival – Hamburg

September 23rd – Cinetol – Amsterdam

September 24th – Trix – Antwerp

September 28th – The Flapper – Birmingham

September 29th – Yes – Manchester

September 30th – Headrow House – Leeds

October 1st – Poetry Club – Glasgow

October 2nd – Sneaky Pete’s – Edinburgh

October 5th – Tiny Rebel – Cardiff

October 6th – Port Mahon – Oxford

October 7th – Rough Trade – Bristol

October 9th – Latest Music – Brighton

October 10th – The Lexington – London

October 14th – Rough Trade – Brooklyn, NY

October 15th – Once – Boston, MA

October 16th – DC9 – Washington, DC

October 17th – Kung Fu Necktie – Philadelphia, PA

October 19th – Velvet Underground – Toronto, ON

October 21st – Subterranean – Chicago, IL

October 23rd – The Basement – Nashville, TN

October 24th – The Earl – Atlanta, GA

October 27th – Bronze Peacock – Houston, TX

October 28th – Hotel Vegas – Austin, TX

November 1st – Valley Bar – Phoenix, AZ

November 2nd – Morrocan – Los Angeles, CA

November 4th – Rickshaw Stop – San Francisco, CA

http://ihatemissjune.com/   https://www.facebook.com/missjunenz/

Pete RingMaster 07/09/2019

Copyright RingMaster: MyFreeCopyright

Seratones – Power

 

We will admit when reading the press release for new album Power, that US outfit Seratones had set about “trading in the brash proto-punk of their critically acclaimed debut for a timeless brand of gritty soul, one that takes its cues from vintage Motown and Stax even as it flirts with modern synthesizers and experimental arrangements” we had the beginning of a sinking feeling as Get Gone was one vigorously thrilling and addictive encounter. Dipping into its successor though, we quite simply found something even more glorious and irresistible; that casual perusal becoming a rapacious devouring in swift time.

The melodic and soulful prowess of the Shreveport quintet was certainly no secret within their debut album but has just been set alight through the band’s classic inspirations for their hungrily evolving sound and second full-length. The vocals of AJ Haynes again grips attention, within Power her presence and delivery a siren drawing ears and appetite eagerly into the melodic and soulful rock ‘n’ roll of the release. She seems to hungrily relish the new direction in the band’s sound while alongside the major shift in its evolution has led to original guitarist Connor Davis leaving and guitarist Travis Stewart and keyboardist Tyran Coker enlisted to join Haynes, drummer Jesse Gabriel, and bassist Adam Davis; a union which from start to finish had the body grooving and passions racing within Power.

Produced by Cage The Elephant guitarist Brad Shultz, the album instantly lays down the richest bait with the rhythmic lure of Fear, the opener an enticing prowl before slipping into a rapacious stroll with melodic crystals breaking upon its immediate contagion. Haynes just as quickly embraces eager ears with her seductive lures, the tapestry of sixties temptation inciting swinging hips and feet to be as boisterous as the appetite for the song’s sweltering temptation. The first irresistible moment of the release, the song sets the tone and adventure of Power whilst hinting at its diverse web of temptation.

The throaty lure of Davis’ bass is just as manipulative within the album’s following title track, with the animation of Gabriel’s beats rousing an eager canter awash with the caresses of Coker’s keys. Instincts again are quickly sparked by the song, the body bouncing to its enthused energy and movement as vocals and melodies rise with matching persuasion and shimmering heat. If the first track had the listener physically doing its bidding, its successor is pure slavery with creative devilment roaring with a blend of The Crystals bred pop and the power soul of Chantal Claret (Morning wood) and living up to its name in strength, roar, and heart.

Heart Attack follows with a just as enslaving sound and character, Haynes alluring voice an immediate persuasion amongst oriental spiced melodic teasing before another insatiable surge of pop ‘n’ soul flavoured rock ‘n’ roll breaks out. There is a relatively more controlled urgency to its stride compared to those before it even with the hint of power pop insistency with the keys a beguiling shimmer of intimation, one which effortlessly seduced before Lie To My Face brings its own individual temptation and presence forward. It too found no resistance to its slow compelling saunter and heated melodies as subtle but piercing hooks line voice and sound with inescapable resourcefulness.

An echo of the band’s earlier proto-punk styled sound sizzles within next up Gotta Get To Know Ya, lurking around even as the track erupts with spiky R&B revelry. The song’s funk swing gets under the skin within a host of further seconds; its pop instincts just as vocal within the punk breath escaping its lungs while Over You deviously provoked and received full involvement with a seduction akin to a fusion of Aretha Franklin and Mari Wilson.

The array of flavours within the core funk/soul heart of Power is as tantalising as its songs, a gospel-esque undertone to the tantalising croon of Permission with the following Sad Boi bringing a more eighties spiced electronic pop ‘n’ roll to tease and tempt adding to its wealth. Both songs beguiled as they aroused though each are slightly eclipsed by the rapturous enterprise of Who Are You Now, a slice of irresistibility with a great Asa feel to it.

Power is brought to a close by the heart bred magnetism of Crossfire, the rich prowess and call of Haynes’ vocals hugged by the intimacy of keys as dark hues resonate; it all building up to a fire of creative drama for one spellbinding end to a simply magnificent release.

Seratones has taken a bold step with their sound and we can only say we have all been blessed as one of the year’s most essential moments has been born.

Power is out now through New West Records; available @ https://seratones.bandcamp.com/album/power

http://www.seratones.band/   https://www.facebook.com/seratonesofficial   https://twitter.com/Seratones

Pete RingMaster 05/09/2019

Copyright RingMaster: MyFreeCopyright

The Dollyrots – Daydream Explosion

A party in the ears, romp with the body, and riot with the imagination; descriptions which can certainly be suggested upon the sound of the Dollyrots to date but definitely and strenuously applies to the band’s new release, Daydream Explosion. Across fourteen slices of the band’s inimitable fusion of punk, rock, and pop, the album incites and captivates but equally fascinates more than anything from the Los Angeles duo yet as diversity and adventure fuel an eclectic mix of contagious goodness.

With previous album, Whiplash Splash, one of the rousing treats of 2017, vocalist/bassist Kelly Ogden and vocalist/guitarist Luis Cabezas have pulled out all the creative stops to outshine that acclaimed release with Daydream Explosion. From the moment it gives its first eager breath we can declare aim accomplished and an irresistible slab of infectious enterprise bred.

Produced by the band with long-time producer John Fields, Daydream Explosion immediately had ears and attention in its hands, a teasing hook bringing in the pop ‘n’ roll of opener Animal. Ogden’s seductive tones swiftly join the broadening stomp of the track; Cabezas’ soon after and as magnetic as the rhythms and riffs which collude in a charge of flirtatious punk nurtured hooks. As catchy and inescapable as barbed wire, the song effortlessly gets the album off to a rousing start.

With beats swinging, riffs nagging, Everything steps up next and just as devilishly infests body and spirit. Again vocals simply incite participation as easily as the rhythms manipulate feet, the song’s chorus a heightened exploitation of an already fired up appetite for the record and eager subservience to its pop persuasion.

In Your Face comes with a steadier gait after but even in its shimmering sway there is a zeal and energy keen to break out which it does in another contagion of a chorus, the song’s seductive pop increasingly volatile and riveting before Naked uncages its alternative rock devilment like a pop infested Blood Red Shoes. With a rock ‘n’ roll shaped heart the track quickly builds its own character and grinning escapade to be unique Dollyrots.

As expected hooks escape the band like rocker instincts bound in one listening to the album, next up Last Ones on Earth relishes its own host of ear snaring conjuring. With a pop breath seemingly taking inspiration from an array of decades the song commands air and attention while exploring more eighties pop seeded breeding I Love You Instead follows to get the body popping all over again and sap the lungs just a little more of their willing breath. With all songs, but here especially, you can almost feel the fun and big broad grins the pair should have had creating one devilish encounter.

Through the ear smooching sixties girl group toned Watching the Storm Go By and the frenetically stomping I Know How to Party, band and album only pulled attention further away from reality, both tracks major moments among only highlights with the latter carrying a mischievous nod towards Andrew W.K. in certain moments while Kat’s Meow more than matched their glories with its virulently frisky stroll.

There is no decline in pure temptation as No Princess springs its own individual pop punk epidemic straight after nor as Flippy In My Red Dress infests hips and passion with its rampant rock ‘n’ roll seduction.  Like a mix of The Hillbilly Moon Explosion and Stray Cats but pure Dollyrots, the song is sublime, a major favourite track challenger though tested throughout the album for that honour as proven by the feisty Oblivious and Talk Too Much with its senses taunting hooks and melodic dance, a combination far too potent to resist.

The album closes up with Daisy’s Song, a final slice of punk ‘n’ rock temptation as instinctively sinful as it is masterfully manipulative and simply beguiling. And that pretty much describes Daydream Explosions as a whole, creatively wicked and unapologetically infectious and most likely the best piece of pop punk you will embrace and devour this year or possibly next.

Daydream Explosions is out now via Wicked Cool Records/ The Orchard; available @ https://thedollyrotswcr.bandcamp.com/album/daydream-explosion

http://www.dollyrots.com/    https://www.facebook.com/thedollyrots/    https://twitter.com/thedollyrots

Pete RingMaster 13/08/2019

Copyright RingMaster: MyFreeCopyright

Sweet and power: the Vanilla Sugar Interview

Based out of Los Angeles, California, Vanilla Sugar dares to push the envelope of unprecedented and bold sounds. The eclectic mixtures is the release of Jessica Perry (JP Vanilla) on vocals, synthesizer, and guitars, a proposition which combines comprehensive alternative/electronic sample infused music with an electrifying stage presence. We craved to learn more so with big thanks to JP we explored origins, music, songwriting and more…

Hello and thanks for taking time out to talk with us.

Thank you for having me!

Can you first introduce the band and give us some background to how it all started?

I am Vanilla Sugar – I started this project on a midi keyboard and iMac. I wanted to get the songs in my head out and into my car’s speakers.

Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

I have been performing in different bands since I was 12 years old. I have done Industrial, Punk, Metal, Pop – you name it! I learned from each band, and playing different genres has definitely helped craft what Vanilla Sugar is today.

What inspired the band name?

The PG13 version is that Vanilla Sugar seems like such a dainty name – when the music is actually very in your face and powerful. I love throwing off new audience members. They never know what to expect. The R rated (and completely true) version is this…I wanted a name for this that somehow had my name tied in all at once and not at all. My nickname is JP Vanilla. Hence the “Vanilla” in Vanilla Sugar….the “Sugar” comes from the term “Kitty sugar” (Feel free to Google when you’re not at work). Put those two meanings together and you’ll know what Vanilla Sugar means!

Was there any specific idea behind the project and also in what you wanted it and your sound to offer?

I wanted the sound to be a mix of everything I enjoy listening to – which is Metal, Electronic music, Pop, etc. I blend my favorite aspects of each genre all together.

Do the same things still drive you from when you started up Vanilla sugar or have they evolved over time?

I would have to say the same things still drive me. I write lyrics from the heart – things that I have been through, things I overcame – I want to share it with the listener. You never know what someone is going through. Music helped me through a lot while I was growing up and I want to be able to return the favor.

Since your early days, how would you say your sound has evolved?

The sound is much more structured now – in a great way. Songs are smooth, clean and on time!

And that has been more of an organic movement of sound or you deliberately wanting to try new things?

A deliberate change – I am always trying to better the sound.

Presumably you haves a wide range of inspirations; are there any in particular which have impacted not only on your music but your personal approach and ideas to creating it?

I love Grimes – she is a huge influence on me. I respect that she does everything DIY. Love that – and Mindless Self Indulgence – they taught me to be brave and not care what the formula is “supposed” to be when writing a song. They taught me to write what feels right.

Is there a particular process to your songwriting?

Typically the song is made, often times starting with a synth melody. I write the lyrics from the feelings the music gives me.

You touched on lyrics earlier; the major sparks for that side are?

Life experiences. It’s a way for me to get things off my chest. I have a very bad habit of holding onto bad experiences and let it eat away at me. When I write the lyrics around the issue, it’s as if I am releasing it from myself and it’s a very freeing feeling.

Give us some background to your latest release.

This new album is my first one! I am very excited to share it with the world.  A lot of blood, sweat, and glitter have gone into this.

Give us some insight to the themes and premise behind it and its songs.

I am trapped inside of my head a lot. This album dives into that, and I confront myself for the first time through lyrics. The music videos give a wonderful view into the insides of my brain.

Are you someone that goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

I prefer to develop songs as I record. I record little ideas at home, but ultimately my producer and I work songs out at the studio.

Tell us about the live side to the band, presumably the favourite aspect of the band?

I love playing live shows! It is wonderful to be able to connect with fans. My favorite part of the live show is when I get to go crazy with my keytar. I love feeling the music that way.

It is not easy for any new band or artist to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

I think there is always a place for opportunity to happen, you just need to work to make it happen. I tour often, and wide – from Los Angeles to Florida, and venturing out into Brazil, Japan, and the UK within the upcoming years.  It’s important to keep touring so you can grow your fanbase.

How has the internet and social media impacted on the band to date?

I absolutely love social media when it comes to music. Before social media, promoting shows and your brand was difficult! Now, I can just create an event on Facebook and invite anyone all over the world! It’s a great way to keep in contact with your fans, and allow them to see the real you.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Thank you again for having me! I host a Facebook & Instagram Live every Thursday night at 8pm PST. Please join – I would love to get to know you!

https://www.facebook.com/vanillasugarmusic/

Pete RingMaster 09/07/2019

Copyright RingMaster: MyFreeCopyright

Scott Gray – Raincoats and Other Short Stories

This month sees the exclusive re-release in the U.K. and Europe of Raincoats & Other Short Stories, the latest EP from US singer-songwriter Scott Gray. Featuring re-mastered songs and a bonus track, the seven song release is a familiar croon for the heart and a picture book for the imagination which provides a rather enjoyable companion for the ears too.

Nashville based, Gray takes inspiration from the likes of Sting, Leonard Cohen, and Jamie Cullum and like them instinctively crafts his songs as stories embracing the imagination and personal experiences seeded in the broad and intimate moments in life all in some way can relate to. Musically, these adventures further blossom from their creator’s infectious fusion of pop and jazz, a blend carrying a breath as soulful as it is melodic rock energetic. Certainly artists like Michael Bublé and Harry Connick Jr come to mind at times across Gray’s new release but more so it offers an eagerly captivating fresh and individual character.

Raincoats & Other Short Stories first embraces ears with Raincoats, a song which immediately got under the skin as the body bounced to its catchy lure of voice and piano. Gray’s fingers stroll over keys with smiling eagerness, his tones just as vibrant and enthused and almost grinning as they welcome the subsequent full spirited swing of brass and the summery sparkle of keys. The flames of the chorus add another virulent hue to the inescapably catchy encounter and thrilling start to the EP.

Maybe It’s You follows and is no less a flirtatious temptation, its more concentrated canter a joy of nagging bass and again balmy keys cast melodies. Harmonies and brass simply accentuate the track’s affectionate tale and persuasion, a growing classic rock hue another magnetic spice to its swinging heart and keenly sauntering demeanour. As its predecessor, the track quickly had us eating out of its enterprising hand before making way for the sultry charm and intimate jazz club climate of She Remains. Smoky brass joins melancholic keys alongside the reflective reveal of word and Gray’s ever alluring voice; every second of their melodic and wistful contemplation effortlessly beguiling.

Equally thoughtful and pensively mellow is Captured, a tale of dejection, determination and unstoppable romance. Though it maybe took a play or two more to tempt as those before it, the song emerges another ear and appetite ensnaring proposal persistently tempting with an almost gnarly throated sax, invigorating crescendos and Gray’s consistently potent and persuasive voice, the latter especially just as commanding and compelling within the following Someday, Gray’s latest single. Sharing a park bench with the listener watching life go by, it is a melodic musing easily embracing and sparking the imagination.

The lively infectious rock ‘n’ roll of Games You Play, a pop fuelled canter with a jazz rock bred personality and bounce that again needed little time to gain ears and participation, brings further variety to the EP before it closes up with bonus track, As If. An emotionally charged serenade of voice and sound with a fire in its heart, the song makes a fine end to a release which just grows and blossoms in ears and enjoyment play by play and is easy to see bringing a whole new audience the way of Scott Gray from this side of the big pond.

Raincoats and Other Short Stories is only available in the UK and Europe on iTunes @ https://itunes.apple.com/gb/album/raincoats-other-short-stories/1451747753

http://www.scottgraymusic.com/    https://www.facebook.com/500HatsMusic/   https://twitter.com/ScottGrayMusic

Pete RingMaster 24/03/2019

Copyright RingMaster: MyFreeCopyright

Tullycraft – The Railway Prince Hotel

Despite new album The Railway Prince Hotel being their seventh, US indie popsters Tullycraft has been a name rather than musical presence on our radar here and it has pretty much been the same with global recognition and attention. It is an outfit though which is said to have been “one of the forefathers of the American twee pop movement”, indeed one of the biggest influences on so many bands emerging over recent times within the indie pop underground and beyond. On the evidence of their new offering it just might be the time they themselves step out into the biggest spotlights as The Railway Prince Hotel is simply one irresistible slice of cute pop contagion.

Tullycraft emerged back in 1995 and a swift hindsight listen in the wake of The Railway Prince Hotel shows they have been the source of a host of delicious pop songs and releases which reveal why they have been a potent inspiration to so many. The new album though is a new twist in their songwriting and sound, a collection of hungrily lively pop songs with their own individual bounce and mischief to what has come before. The riveting union of lead vocals from bassist Sean Tollefson and Jenny Mears is one of the most potent lures to the Seattle band’s music but no more so than the instinctive hooks and radiant melodies which tease and inspire attention. Listening to their new release we quickly found ourselves thinking back to the organic and viral pop of seventies/eighties bands like The Freshies, The Farmers Boys and to a slightly lesser degree Weekend and The Chefs; alluring and no doubt coincidental tinges in the openly individual character of the Tullycraft sound.

It is fair to say that The Railway Prince Hotel had us hooked and licking lips with simply its first three tracks; songs which no matter what was to follow ensured our full recommendation was lining up. Midi Midinette starts things off, its summery flames of brass and energetic bounce instantly burrowing deep as too the rising union of harmonic vocal lures. Soulful and whimsical in all the right ways, the song provides a joyous stroll which hips and vocal chords just could not resist, both soon manipulated to matching effort by the following pair of Passing Observations and We Couldn’t Dance To Billy Joel.

From its opening bait of bass, the first of the pair had the body swinging; its temptation instantly escalated by the vocal collaboration of Mears and band around Tollefson‘s lone and as potent lines. The guitars of Chris Munford and Corianton Hale again almost tease as they melodically entice but it is Mear’s melodic cries which made for the greatest seduction in a song and particularly chorus which made for increasingly mischievous aural manna. Its successor with its jovial jangle and frisky rhythms allowed for no relaxation of feet and body swerves, its flirtatious vocals and melodies a pleasing mix of comforting warmth and playful unpredictability.

Goldie And The Gingerbreads is next up sharing another bassline which just hooked the appetite. From there the skittish beats and coy but bold melodic clang of guitar escalated its hold on ears while harmonies suggest the echoing lures of bands such as The Shangri-Las and The Crystals make a natural pleasure for the band itself.

We could not say that either Has Your Boyfriend Lost His Flavor On The Bedpost Overnight? or Beginners At Best quite sparked the same unreserved reactions of their predecessors but both with their particular creative essences and enterprise left us bouncing along with a wholly satisfied smile while It’s Not Explained, It’s Delaware with its reserved country twang brought its own healthy amount of and easy to take pleasure.

The brief electro pop saunter of Lost Our Friends To Heavy Metal was another which took longer to take too even if hips unapologetically defied that sloth like appreciation while Hearts At The Sound straight after ignited another round of eager bouncing with its rowdier pop ‘n’ roll before The Cat’s Miaow In A Spacesuit had us hooked with its bass swing alone, closing the trap with vocal and melody erudition. The latter pair emerged to test the opening threesome for best song honours, a choice never settled on even through numerous listens.

The album closes out with firstly its title track, a spirited influential proposal lying somewhere between old school pop punk/power pop and brass flamed indie rock and lastly the carefree pop rock stroll of Vacaville. Each leaves a greed for more behind with the final treat another vying for the album’s finest moment.

We can only feel we have missed out on years of enjoyment listening to Tullycraft but as we feel sure so many more newcomers will do, we are making up for it with The Railway Prince Hotel, one of the year’s early and real pleasures.

 The Railway Prince Hotel is out now @ https://tullycraft.bandcamp.com/album/the-railway-prince-hotel and available on vinyl via HHBTM Records.

https://tullycraft.com/   https://www.facebook.com/TullycraftBand

 Pete RingMaster 12/02/2019

Copyright RingMaster: MyFreeCopyright

AM Taxi – Shiver by Me

As much as craft and imagination guides our choice of musical pleasures and favourites it is instinct and organic connections which truly steer reactions and loves, both fully behind our swift and unconditional ardour for Shiver by Me. Not that the creative invention and agility of AM Taxi and their release falls short, it all going to make for one rousing slab of punk ‘n’ roll, but quite simply it is an album which just knows what our personal wants and pleasures are and feed all with tenacity.

The successor to We Don’t Stand A Chance, the Chicago band’s well-received 2010 Virgin Records released debut, Shiver by Me provides a romping, stomping fusion of old school punk and alternative rock with modern pop instincts. It snarls as it bounces, reeking defiance as it unleashes virulent catchiness across eleven boisterous encounters, all the while leaving ears and appetite greedy for more. It bursts into life with a bang and never leaves a want for anything thereon in.

Saint Jane provides that explosive beginning, cavorting rhythms linking up with a teasing guitar jangle as vocals wait to add their lively energy. Hitting full swing as guitarist Adam Krier adds his lead tones, the track is an insatiable pop punk temptation springing seventies punk with indie pop feverishness. There was no escaping its manipulation of body and vocal chords nor the swift ardour sparked and carried on by the following Harpoon. Echoing its predecessor, the track is just as persuasive and irresistible vocally as it is musically, Krier and the band’s backing effortlessly getting under the skin just as the swinging beats of Chris Smith, the brooding but eager grumble of Jason Schultejann’s bass and the melodic shenanigans of Jay Marino’s guitar alongside those of Krier. With devious hooks at every twist and turn, the track is viral contagion to which personal hollering was inevitable.

Next up Movie About Your Life proved to be no less of a puppeteer either, its acoustic strum and persuasive handclaps teasing to the great vocal snaring quickly in tow with melodic intimations lining the captivation as it bubbles up while Swim Before You Sink (Short Time on Earth) straight after uncages bold imagination brewed rock ‘n’ roll which fed every want in the personal book. Both tracks are simply outstanding continuing the impressively rousing roar of the album already in full flow.

Fighting in Cars is relatively calmer but still a spirited proposition with its lithe rhythms and melodic web while L’ Patron provides an ear romancing saunter with a fire in its belly and passion in its heart. Each of the pair hit the spot with their openly individual proposals; success fully matched by the indie rock hued punk pop canter of Stuck Around. The hook springing and vocal prowess of the band, let alone an inexhaustible rhythmic agility, is persistent across each track within the release and no more tantalising than here.

Through the Clash kissed Brandy Don’t Let Me Down and the reflective and skilfully dramatic Minute Alone, the album is as compelling and striking as ever, both slices of pleasure matched in creative kind by the soul nurtured Shaken Over You. Sam Cooke is named by the band as one of their influences, an inspiration breeding this treat, a song elevated further by a Jam-esque whiff.

The album closes with Warsaw Blues, a gentle slice of melodic intimacy which maybe did not inflame the passions as those before but left a certain pleasure and appetite for more of its almost smouldering temptation.

Shiver by Me is one riveting adventure from start to finish and AM Taxi a band no punk or rock ‘n’ roll fan should skip by without giving at least a curious listen.

Shiver by Me is out now @ https://amtaximusic.bandcamp.com/album/shiver-by-me and also available on limited vinyl this April through Mutant League Records.

https://www.facebook.com/amtaxi/    https://www.amtaximusic.com/  https://twitter.com/AMTAXI

Pete RingMaster 11/02/2019

Copyright RingMaster: MyFreeCopyright